Chanson des Chétifs and Chanson de Jérusalem
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A01=Carol Sweetenham
Author_Carol Sweetenham
Category=DSBB
Category=DSC
Category=NHWR
central trilogy
Chanson De
Chanson De Geste
Chanson de Jerusalem poem
Chanson des Chetifs poem
Chevalier Au Cygne
chivalric culture studies
Coal Fire
Count Rotrou
Crested Serpent
Crossbow Bolts
crusade historiography
Dead Men
epic poetry analysis
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eq_biography-true-stories
eq_history
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eq_non-fiction
French Crusade Cycle
Girart De Roussillon
Good Duke
Graindor De Douai
Gran Conquista De Ultramar
Hang Back
Holy Sepulchre
Horned Horse
Judicial Duel
medieval French literature
medieval propaganda
Noble Lords
Old French epic cycle interpretation
Si Con
Siege Engine
Steel Sword
thirteenth-century France
thirteenth-century poems
Turkish Bows
Villehardouin
Young Man
Product details
- ISBN 9781138307247
- Weight: 830g
- Dimensions: 156 x 234mm
- Publication Date: 14 Aug 2018
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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The First Crusade was arguably one of the most significant events of the Middle Ages. It was the only event to generate its own epic cycle, the Old French Crusade Cycle. The central trilogy at the heart of the Cycle describes the Crusade from its beginnings to the climactic battle of Ascalon, comprising the Chanson d’Antioche, the Chanson des Chétifs and the Chanson de Jérusalem. This translation of the Chétifs and the Jérusalem accompanies and completes the translation of the Antioche and makes the trilogy available to English readers in its entirety for the first time. The value of the trilogy lies above all in the insight it gives us to medieval perceptions of the Crusade. The events are portrayed as part of a divine plan where even outcasts and captives can achieve salvation through Crusade. This in turn underlies the value of the Cycle as a recruiting and propaganda tool. The trilogy gives a window onto the chivalric preoccupations of thirteenth-century France, exploring concerns about status, heroism and defeat. It portrays the material realities of the era in vivid detail: the minutiae of combat, smoke-filled halls, feasts, prisons and more. And the two newly translated poems are highly entertaining as well, featuring a lubricious Saracen lady not in the first flush of youth, a dragon inhabited by a devil, marauding monkeys, miracles and much more. The historian will find little new about the Crusade itself, but abundant material on how it was perceived, portrayed and performed. The translation is accompanied by an introduction examining the origins of the two poems and their wider place in the cycle. It is supported by extensive footnotes, a comprehensive index of names and places and translations of the main variants.
Carol Sweetenham is an accomplished translator of medieval texts on the Crusades. Her previous publications include: The Canso d'Antiocha, with Linda Paterson (2003); Robert the Monk's History of the First Crusade (2005); and The Chanson d'Antioche, with Susan Edgington (2011).
